Silk Furniture

Elegant and warm throw, crafted from a premium blend of wool, cashmere and silk. Its softly textured bouclé-style weave, presented in a warm ivory tone, gives the piece a cozy, tacti...

BEAUTIFUL JAPANESE SILK KMIONO, in the color of dark blue, and still in new condition from the 1955 inventory, never used.

Silk Scroll 　tip: resin Size Image size: 410 (W) x 1100 (H) [mm] Scroll mounting: 540 (W) x 1900 (H) [mm] Box size: 80 x 80 x 630 mm 900g Comes with a box, although it is not an orig...

This lavish American tester bed exhibits superior craftsmanship and detail. The design is embellished with elaborate carvings on the headboard and sides. Th...

This fine pair of Maison Jansen attributed large-scale Bergère chairs exudes refined luxury and timeless French elegance. Generously proportioned for comfort, these chairs feature be...

Starting from natural undyed wool, slight notes of color enter the subtle background of each rug, forming a harmonious relationship like musical notes playing together in rhythm and ...

Suzanis from the regions of Tashkent and Pishkent have some astral names such az ‘moon sky’, ‘star sky ‘. The main characteristic of these suzanis is that of their being fully embroidered in silk and sometimes in wool in sections. Ground cloth...

A nice example of a Continental hand wrought tapestry decorated with putti or angels and cartouche, with foliate accents and subtle tan border with raised flowers. The tapestry has a...

This is a truly genuine one-of-a-kind Beige, THE SUNSET ROSETTES, Wool and Pure Silk, Hand Knotted, Oriental, Round Rug. It has been Loomed for months and months in the centuries-old...

This is an early 20th C over all densely embroidered Suzani from Tashkent , Uzbekistan. It has been fused and lined with plain cotton fabric.  

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Late 19th C. Uzbekistan Ready to go on a wall. Fr...

The shepherdess is lovely. She is seated near her flock under the shade of a leafy tree, wearing a green and white dress and a hat with red trim....

Fabulous 10’ silk velvet drapery panels with Greek key border labeled by designer William Eubanks. These could easily be reworked to fit a differen...

With voluptuous curves and perfect poise, the Mid-Century Modern inspired La Folie Pouf Ottoman exalts passion and fantasy as if you were in a burlesque show at Moulin Rouge. Let you...

A late 16th century Flemish Historical Tapestry panel. This vertically oriented decorative tapestry panel depicts a female figure at bottom, sitting within an elaborate floral reserv...

Tapestry from the Royal Manufacture of Aubusson, Louis XVI period , made in 1738 at the Gobelins One panel from a series of Gobelins tapestries depicting the History of Esther, illustrating Esther seated and attended by handmaidens, one washing her feet in golden basin, another fastening a bracelet, another offering a mirror, all observed by Mordecai, woven in the workshop of Michele Audran after a design by J. F. de Troy. The Toilet of Esther c.1778-85.Royal Collection Trust-Queens Audience Chamber Windsor Castle The Sketches for the Esther Cycle by Jean-François de Troy (1736) “and the maid was fair and beautiful; whom Mor’decai, ..., took for his own daughter.” (Est. 2:7) A supple and undulating genius, both a flattering portraitist and a prolix history painter, as well as a brilliant genre painter, in a gallant or worldly vein, Jean-François de Troy (Paris, 1679 – Rome, 1752), solicited, although he had passed the threshold of old age, a new royal commission up to his ambitions. To obtain it, he submitted – successfully - for the approval of the Bâtiments du roi (administration), seven modelli painted in 1736 with his usual alacrity. Inspired by one of the most novelistic texts of the Old Testament, the Book of Esther, these sketches in a rapid and virtuoso manner were transformed by the artist, between 1737 and 1740 into large cartoons intended to serve as models for the weavers of the Gobelins factory. Showing undeniable ease and skill in the composition in perfect harmony with the sensitivities of the times, the tapestry set met with great success. The Story of Esther perfectly corresponded to the plan of the Bâtiments du roi to renew the repertoire of tapestry models used for the weavers of the royal factories while it also conformed to the tastes of Louis XV’s subjects for a fantastical Orient, the set for a dramatic tale in which splendour, love and death were combined. Indeed, no tapestry set was woven in France during the 18th century as often as that of Esther. The series of modelli painted by de Troy during the year 1736 looks to the history of French painting and decoration under Louis XV as much as it does the history of the Gobelins. It probably counts among the most important rococo pictorial groups to have remained in private hands. First the Biblical source illustrated by De Troy which constitutes the base of one of the richest iconographical traditions of Western art will be considered. Then the circumstances and specific character of French civilisation during the reigns of Louis XIV and Louis XV which contributed to making the theme of Esther a relevant subject, both attractive to contemporaries and remarkably in line with the sensitivities of the time will be elucidated. An examination of the exceptional series of sketches united here, the cartoons and the tapestries that they anticipate as well as a study of their reception will close this essay. The Book of Esther: A scriptural source at the source of rich iconography. The origin of the Esther tapestry set by Jean-François de Troy – origin and creation of a masterpiece According to the evidence of one of the artist’s early biographers, the chevalier de Valory, author of a posthumous elegy of the master, read at the Académie royale de peinture et de sculpture on 6 February 1762, it was apparently due to early16 rivalry with François Lemoyne (1688-1737), his younger colleague who had precisely just been appointed First Painter to the King in 1736, that had encouraged François de Troy to seek a commission allowing him to show off his ease and his promptitude at the expense of a rival who was notoriously laborious: “M. De Troy, retaining some resentment of the kind of disadvantage which he believed to have suffered compared with his emulator looked to regain some territory by making use of the facility his rival did not possess. Lemoyne was excessively long in the creation of his works,and M. De Troy of a rare celerity: consequently, with this particular talent, the latter offered to the court to make paintings appropriate to be executed at the Gobelins Factory; and it is to this circumstance that we owe the beautiful series of the Story of Esther, which would be sufficient alone to give him a great reputation.”17 Beyond the suspicion inspired by the topos, which still constitutes, more or less, a tale of rivalries between artists in ancient literature, there is probably some truth in what Valory reports although A.-J. Dezalier d’Argenville (who indicates rather spitefully that de Troy did not hesitate to “cut prices” to impose himself, benefitting from the productivity assured by the unlikely rapidity of his brush)18 proves to be more evasive: “As he looked to busy himself, he had offered to make the paintings that serve as models for the King’s tapestries cheaply: which did not please his colleagues. He was given a choice of two tapestry series to be made and he took the Story of Esther and that of Jason”.19 Whether or not the choice was actually left to de Troy (which would appear rather casual on the royal administration’s part all the same), it seems likely that the artist, whose contemporaries extol his “fire”, as the faculty of invention was then called, must have ardently aspired to the possibility of using on a very large scale the “creative genius” with which Dezallier d’Argenville credits him. The decoration of the private apartments, the fashion for which Louis XV had promoted at Versailles and Fontainebleau, offered little opportunity to excel in this area. Other than painting for altarpieces, only tapestries could allow comparison with Lemoyne who had been granted – unfortunately for him – a major decoration: the enormous ceiling of the Hercules Room at Versailles. Favoured by the recent improvement in France’s financial situation, the revival of patronage offered de Troy a commission fitting for him, in a field in which, however, he had hardly any experience. Anxious to renew the repertoire of models available to the Gobelins factory, the Duc d’Antin, surintendant des Bâtiments du roi from 1708 to 1736 followed by his successor, Philibert Orry comte de Vignory, gave him the task of producing seven large cartoons inspired by the Book of Esther corresponding to the brilliant sketches or modelli which de Troy had produced in one go, or almost (very few preparatory drawings can in fact be linked to the Esther cycle and all seem to be at the execution stage of the cartoons).20 Subjected to the approval of the Administration des Bâtiments according to the procedure in use for projects being planned for the Gobelins, sketches made rapidly during 1736 were approved and the project launched immediately. Thereupon came the news of François Lemoyne’s death, who, ground down by work and a victim of his private torment, committed suicide on 4 June 1737. Against all expectations, de Troy did not replace his rival in the position of First Painter (which remained vacant until the appointment of Charles Coypel in January 1747), which would perhaps have made him too obviously the beneficiary of the drama. The awarding of the position of Director of the French Academy in Rome came to console him while he had already produced (or he was in the process of finishing), in Paris, three of the seven cartoons of the cycle (The Fainting of Esther finished in 1737 and the Toilet and Coronation of Esther, both finished in 1738). De Troy, we can see, did not follow the order of the narrative but began with the subjects which apparently offered the least difficulty because he had already depicted them, or because they fall into a strong pictorial tradition (such is the case especially for the Fainting of Esther). He had hardly settled at the Palazzo Mancini in August 1738, when his first task which awaited the new director of the French Academy naturally consisted of honouring the royal commission and finishing without delay the final cartoons of the Story of Esther after the sketches he must have taken with him. As prompt as ever, de Troy discharged himself of the execution of the four remaining cartoons in only two years, by beginning with the largest format which allowed him to strike the imagination and to impose himself as soon as he arrived on the Roman stage: the Triumph of Mor’decai which was finished in 1739 (like Esther’s Banquet). The following year, the Mor’decai's Disdain and The Sentencing of Haman were brought to an end in the same Neo-Venetian style, obviously tributary to Veronese with its choice of “open” monumental architecture which is characteristic of the entire cycle.21 The series, it should be noted, was almost augmented with some additional scenes in the mid 1740s. Indeed, the first tapestry set finished at the Gobelins in 1744 proved to be unsuitable for the arrangement of the Dauphine’s apartments at Versailles for which it had been intended to decorate the walls the following year (cf infra). Informed of this, de Troy, considering that the story of Esther offered “several good subjects,” immediately offered to illustrate one or new subject among those “which could appear to be the most interesting”. The directeur des Bâtiments Orry, who managed the State’s accounts, obviously judged it less costly to have one of the tapestries widened to fill in the end of the Dauphine’s bedroom,22 which has probably deprived us of very original compositions, because de Troy had already illustrated the most famous themes, those that benefitted from a strongly established iconographical tradition and from which it was not easy to deviate The Tapestry Set of the Story of Esther Placed on the tapestry looms of the Gobelins at the end of the 1730s in Michel Audran’s workshop, the cycle created by de Troy aroused true infatuation. The few hundred tapestries made between 1738 and 1797 – all in high-warp tapestry and woven in wool and silk except for four in low-warp made in Neilson’s workshop – show the impressive success of a tapestry set that was without any doubt the most frequently woven of the 18th century in France. 29 Only three cartoons had been delivered by de Troy in 1738 when the first tapestry set was begun by Audran under the expert eye of Jean-Baptiste Oudry to whom the Directeur général des bâtiments, Philibert Orry had assigned the (weekly) supervision of the weaving. During the summer of 1738, the piece of the Fainting of Esther, which Oudry judged to be admirable, was finished. During the winter of 1742, Oudry informed Orry that about two ells of the Triumph of Mor’decai had been made “with no faults”,that the Coronation of Esther was finished and that the Esther at her Toilet “a very gracious tapestry” was “a little over half” finished. Exhibited at Versailles in 1743, these two last pieces were admired by Louis XV and the Court. On 3 December 1744, the set of seven tapestries was finally delivered to the Garde Meuble. It was intended, the honour was not slight, to decorate the apartments of the Infanta Maria Teresa Rafaela of Spain whose marriage to the young Dauphin Louis-Ferdinand had been fixed for the following year (it took place on 23 February 1745). Apparently it was thought that the theme of Esther the biblical heroine and wife of a foreign sovereign was appropriate for the apartments of the Spanish Dauphine. As early as the month of March, the architect Ange-Jacques Gabriel informed de Troy that her grand cabinet was decorated with the “Esther tapestry set” specifying however that “for lack of two small or one large piece, we have not been able to decorate the end of the room”. This difficulty led immediately to the Banquet episode being woven a second time in two parts (they were delivered to the Garde-Meuble on 30 December 1746) to garnish the panels on each side of the bed of the Dauphine who would hardly enjoy them (she died on 22 July 1746 and the decoration was installed for the new Dauphine Maria Josepha of Saxony). The appearance of the set’s remarkable border, which imitated a richly sculpted wooden frame, should be mentioned. Conceived in 1738 by the ornamentalist Pierre Josse-Perrot and used in the later weavings until 1768, it tended to reinforce the resolutely painterly appearance of the tapestry set which, in this regard, pushed the art of tapestry as far as its ultimate mimetic possibilities. With the exception of Mor’decai's Disdain which had been removed earlier, the “editio princeps” of the story of Esther (from then on in nine pieces) remained at Versailles until the Revolution. Of the eight surviving tapestries, four are at the chateau of Compiègne and four belong today to the Mobilier National. No less than seven tapestry sets reputed to be complete (one of them in fact only had six tapestries) would be produced officially at the Gobelins up to 1772. Literature: 1- The Œuvres mêlées of an emulator of Racine, the Abbé Augustin NADAL thus include an Esther. Divertissement spiritual which is exactly contemporary with Jean François de Troy’s cycle since it was performed in 1735 and published in Paris three years later. 2-Le Siècle de Louis XIV, 1751, 1785 ed., p. 96-97 for French ed. 3- Lemoyne and de Troy had been obliged to share the First Prize in the competition organised in 1727 between the most prominent history painters of the Académie Royale. 4- Mémoires…, pub. L. DUSSIEUX et al., 1854, II, p.265. 5-The fact that de Troy, at the risk of falling out with his colleagues, did not hesitate to make use of prices in order to convince the new directeur des Bâtiments Philibert Orry, is confirmed by Mariette who adds tersely “it caused much shouting” (pub. 1851-1860, II, p. 103). 6- Abrégé de la vie des plus fameux peintres…, ed. 1762, IV, p. 368-369 20 Early comments on the painter are inclined to present him as a kind of “pure painter”, doing without the medium of drawing, a few intermediary studies between the Esther sketches and the large cartoons at the Louvre nevertheless show that de Troy used red chalk (see in the catalogue, the notice for the Meal of Esther and Ahasuerus under the entry drawing) to change one or other figure. 7-C. GASTINEL-COURAL (cat. exp. PARIS, 1985, p. 9-13) as well as the article by J. VITTET, exh. cat. LA ROCHE-GUYON, 2001, p. 51-55. 8-The Hermitage in St. Petersburg conserves five tapestries of these two royal gifts whose provenance still awaits elucidation (as far as we are aware). In 1766, the Grand Marshal of Russia, Count Razumovski (or Razamowski), acquired the Fainting and the Banquet extracted from the sixth weaving (J. VITTET, 2001, p. 53). 9- Lettres écrites de Suisse, d’Italie…,quoted by J. VITTET, op. cit., p. 54. 10-The tapestry set remained in the hands of a branch of the Hapsburg-Lorraine family until 1933 (ibid. P. 54). 11-Quoted by Chr. LERIBAULT, 2002, p. 97, note 269. 12-Y. CANTAREL-BESSON, 1992, p. 241. Catalogue The Esther at her Toilet Oil on canvas, 57 x 51 cm Provenance: Painted in 1736 at the same time as the six other modelli of the Story of Esther intended to be presented, for approval, to the direction des Bâtiments du Roi; perhaps identifiable among a lot of sketches by Jean-François de Troy in the post mortem inventory of the amateur, historian and critic Claude-Henri Watelet (1718-1786) drawn up on 13 January 1786 and following days (A.N. T 978, n° 30) then in the sale of the property of the deceased, Paris, 12 June 1786, n° 33; Paris, François Marcille Collection (who owned a series of six sketches from which the Triumph of Mor’decai was missing, see infra); Paris, Marcille Sale, Hôtel Drouot, 12-13 January 1857, n° 36; Asnières, Mme de Chavanne de Palmassy ( ?) collection; Paris, Galerie Cailleux; Paris, Humbert de Wendel collection (acquired from the Galerie Cailleux in 1928); by inheritance in the same family; Paris, Sotheby’s, 23 June 2011, n° 61. In order not to add unnecessarily to the technical commentary on each work, the catalogue raisonné by Chr. Leribault which contains a substantial bibliography on the series should be referred to. The other bibliographical references only concern the publications and exhibitions to have appeared and been presented more recently. Bibliography and Exhibitions: Chr. LERIBAULT, 2002, n° P. 247 (repr.); E. LIMARDO DATURI, 2004, p. 28; Exh. cat. NANTES, 2011, p. 138, n° 34, referred to in note 1; Sotheby’s catalogue, Tableaux anciens et du XIXe siècle, 23 June 2011, n° 61 (repr.). Related Works: Tapestry cartoon: The cartoon (oil on canvas, 329 x 320 cm), the third made by the artist in Paris after the sketches had been approved by the direction des Bâtiments, is in the Louvre (Inv. 8315). It previously bore the painter’s signature and the date 1738 (inscriptions which are found on the tapestries). The royal administration paid 1600 livres for it on 21 June 1738 and it was exhibited at the Salon in the year of its creation. Summary Biography 1679 (27 January): Baptism in Paris (Parish of St. Nicolas du Chardonnet) of Jean-François de Troy, son of the painter François de Troy and Jeanne Cotelle, sister of the painter Jean II Cotelle. 1696-1698: Studies (apparently rather turbulent) at the Académie royale de peinture et de sculpture. 1698-1708: First trip to Italy. Is obliged to leave Rome in January 1711 after a tempestuous affair (a duel?), de Troy extends the traditional Roman experience as a pensionnaire at the Académie de France by also visiting Tuscany where he stays for a long time, Venice (his art in face has a strongly Venetian character) and Genoa. 1708: De Troy (whose father had been elected Director of the Académie royale de peinture et de sculpture on 7 July) is agréé and immediately received at the Académie with Apollo and Diana Piercing with their Arrows the Children of Niobe (Montpellier, Musée Fabre) on 28 July. 1710: First royal commission, paid for on 10 May (a sketch representing “the Promotion of the Order of the Holy Spirit” for the tapestry series of the History of the King). 1716: Jean-François de Troy is elected Assistant Professor at the Academy. 1720: He is appointed Professor. 1723: The artist creates the double portrait of Louis XV...

This hand knotted pile rug features a primary blue color and is constructed entirely from silk. The contemporary design presents a solid open field and allover pattern, suitable for ...

Monumental Museum tapestry/Gobelein 17th century Battle scene Alexander the Great and Darius III Persian King The characters are depicted in life size. An absolute museum unique. Dimension: 530x320 cm Description: Monumental tapestry...

1910s antique Art Nouveau Belle Époque armchair. This gorgeous silk satin chair of the Belle Époque comes from the noble family “Della Torre di Rezzonico”. This branch of the family...

Design happens when a line experiences an unexpected curve and goes off into uncharted territory; a chance encounter that transcends initial ideas during creation. This collection...

Discover the timeless elegance of this early 20th-century Aubusson or Flanders tapestry featuring a captivating design of a shepherd with sheep. This tapestry depicts a pastoral sce...

Hand-knotted in silk, this 9x12 rug from Rug & Kilim’s Modern Classics Collection represents a new line inspired by vintage and antique Oushak rugs. On the Design: One fundamental...

This contemporary Tibetan weave rug features an eye-catching multicolor striped pattern. Made from premium Tibetan wool or silk, it showcases intricate details and highlights a rich ...

An antique Brussels biblical tapestry from the late 16th century, attributed to Jan (Ian) Raes, depicting Moses at right, with Joshua kneeling before ...

Embroidery on this piece as refined as it gets. The silk thread is coloured with natural dyes and the design comes from a Dagestan Kaitag embroidery. The backing is hand-stitched on...

Pair custom 22" x 22" Métaphores zebra silk fabric, feather down pillows with espresso leather trim welt. This beautiful limited textile is a heavy weight upholstery silk twill.

Fabulous, rare, sterling silver, Art Nouveau period picture frame, Thomas Brogan and Co., New York, Ca. 1895. The frame is acid-etched, having Art Nouveau-style flowers and vines tha...

It does not come with an insert. Linen in the back. Zipper Closure. Dry Cleaning recommended. This pillow has been fashioned from an antique Tashkent suzani, distinguished by its d...

Antique Moroccan Moorish Silk Textile Tapestry Wall Hanging Hiti Ottoman voided silk velvet wall covering. Silk velvet cut designs, light browns, yellow, cream and blue, the panel consist of two Moorish arches with Islamic floral designs. Antique textiles from early late 19th century. Each arch panel is 63" height X 26"5 wide Antique silk tapestry...

Pair of hand-painted velvet pillows with silk backs. Tan silver/gold sheen. These were imported in the early 2000's and have had light use. There are some spots on the silk as seen...

This needlepoint is a handcrafted piece depicting a classical or romanticized Orientalist scene, possibly inspired by Ancient Rome, Persia, or the Ottoman Empire. The woman lounging ...

Royal House Antiques Royal House Antiques is delighted to offer for sale this lovely pair of Floral Silk blend upholstered three seat Howard & Son's style sofas Please note the de...

Nice mid 20th century shawl from Manila, with a floral Chinese design and style, entirely hand embroidered with silk on silk foundation. Some stains to clean ✨✨✨ "Experience the epi...

Arc Coral mulberry silk pillow reflects beauty in imperfect symmetry. This color block silk pillow is 100% handmade from start to finish, each piece is unique and will have a slight ...

Contemporary Silk Wool Rug by Doris Leslie Blau Size: 11'0" × 13'0" (335 × 396 cm) This minimalist hand-knotted of wool and silk, modern rug is a dream come true of all aficionados o...

Very beautiful and decorative early 20th century silk embroidery from Manila, with a Chinese style and beautiful floral design and nice colors, entirely hand embroidered with silk on...

This antique military hat and fitted hat box was made by W. Cater of London England for the Brigadier General Lawrence Drummond in approximately 1...

This antique Suzani is a beautiful example of Central Asian embroidery. Its intricate floral motifs and vibrant colors showcase the skill and artistry of its creator. It can be used ...

Very early Unkoku school painting of a flock of egrets, willow, plum and other various birds alongside a rushing river. Softly painted in mineral pigments on mulberry paper with a si...

A dramatic Japanese iron tsuba in the nanban (foreign) style, decorated with dragons and openwork and inlaid with silver and gold, Edo Period, early 19th century, Japan. The fantast...

78745 Vintage Turkish Silk Rug with Egyptian Ankh Motif, 01'04 x 02'01. This hand knotted vintage Turkish silk rug features a large-scale Egyptian Ankh motif, making it a unique and ...

This newly made silk velvet ikat pillow from Turkey pairs vibrant artistry with exceptional comfort. Rendered in yellow and blue evil eye motifs on a silver tone background, the text...

I proudly offer for sale this absolutely stunning evening gown with classic empire shape and a fantastic blend of green silk chiffon dress by ...

Blue Matte Finish Lamp with Mohair Silk Shade Estimated processing time is 2 weeks from order confirmation. Pictured with a Mini Globe LED E27 Bulb. Bulb not included. If you woul...

Originally purchased from Hong Kong, this Chinese antique embroidery presented in a museum quality. This textile was a roundel design likely from the center front of a noble woman's...

Dawn Bendick x FJ Hakimian

In the most technical sense of the word, "Suzani," in Central Asia and Iran, means needle and is used to describe this type of needlework, but to most people, such as decorators or c...

Iconic and unusual midcentury Scalamandre Silk Textile design called "Atomic Energy". A slubbed silk base in pale celadon green with hand printed evergre...

Hot pink decorative accent silk brocade throw pillow . Silk pillow cover made from brocade hot pink and gold metallic threads. Indian inspired design with peacocks design decorative ...

Natural fiber art wall tapestry by Don Freedman, 1983. An exceptional large scale work, crafted of hand woven, jute, silk and cotton with a wooden hanging rod. Complete with copyrigh...

Embroidery Suzani with Floral Design and Beautiful Vivid Colors. Rug/H-1306-6. "Suzani" means needlework and these embroideries are some of the most characteristic forms of textile ...

19th century Uzbekistani hand spun linen Suzani with silk embroidered floral motif and silk ikat border. Reverse side has original antique Fine hand printed cotton backing.  

Antique 19th century Framed Japanese Silk Fans comprising two attractively framed Japanese silk fans, one group with 3 Geishas, the other scenic with...

Beautiful pillow made of handwoven flat-weave textile with multi colors geometric motif on a red background, fine silk backing, fresh new down and feather insert.

Table lamp model B-138 produced by Hans-Agne Jakobsson in Markaryd, Sweden. New wiring. Very good condition.

Outstanding Japanese contemporary two panel "byobu" or folding screen featuring genryoku style handcrafted raised pure silk kimono in black, red and gold on textured black background...

Beautifully weathered late 17th/early 18th century Japanese edo period four panel byobu screen depicting hotei (fat monk) in a treed landscape with Chinese sages engaged in leisurely...

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Late 19th C. Uzbekistan. Ready to go on a wall.

This exquisite Tetsusabiji Uchidashi Gomai Dou Gusoku (Five-Plate Russet Iron Embossed Cuirass Armor), crafted in the 18th century, exemplifies the pinnacle of Edo-period samurai arm...

19th century Antique Flemish Tapestry Pillow - throw cushion with incredible detail and texture. Style: Antique, Medieval, Flemish, Neo Renaissance, Allegorical Origin: Flanders, Bel...